
(Jtfiev Vol 



owe 



®vice,25 Gents 



9tyM$y*582 




JL IU* Pinero's Plays 

Price, 50 gents Gael) 



mlUi 7 AM C Faroe In Three Aots. Seven males, five fe- 
g\mJitt\il%0 males. Costumes, modern; sceaery, not 
difficult. Plays a full evening. 

m PARI VET MINI OYER Farce *» Foar A <> t8 - Ten 
CAOIIXC.1 lYMMOlLK males, nine females. Cos 
tumes, modern society; scenery, three interiors. Plays a full evening* 

HANIW HI PIT Farce in Three Acts. Seven maleSj fear fe- 
UfXiMJl 1/1 \*Ki. males. Costumes, modern ; scenery, two inte- 
riors. Plays two hours and a half. 

Till? TAV I Al?n filTEY Comedy in Four Acts. Four males, 
lrid UAI LVJlXU VlVJLiA. ten females. Costumes, modern ; 
scenery, two interiors and an exterior. Plays a full evening. 

UIQ UHITQE IN riDnrP Comedy in Four Acts. Nme males, 
KllD nUUJL 111 UK1/E.IV f our females. Costumes, modern; 
scenery, three interiors. Plays a full evening. 

Till? UARRV UARQE Comedy in Three Aots. Ten males, 
inJCi nUDDl niiS\v>£ nve females. Costumes, modern; 
scenery easy. Plays two hours and a half. 

IDTC Drama in Five Acts. Seven males, seven females. Costumes, 
livid modern ; scenery, three interiors. Plays a full evening. 

I AIW RftTTNTICTTI plav ln Four Act8 « Fight males, seven 
lrf-i.Ul DUUlHirUL females. Costumes, modern; scen- 
ery, four interiors, not easy. Plays a full evening, 

I ETTY I> rama m Four Acts and an Epilogue. Ten males, five 
lAii 1 1 females. Costumes, modern; scenery complicated. 
Plays a full evening. 

THE MAPIQTRATE Farce in Three Acts. Twelve males, 
■ HEi TOA\JliJll%/%lEi four females. Costumes, modern; 
scenery, all interior. Plays two hours and a half. 



Sent prepaid on receipt of price by 

Matter $. Pafeer & Company 

No. 5 Hamilton Place, Boston, Massachusetts 



The Other Voice 

A Play in One Act 



By 
S. VK. FAIRBANKS 



As originally produced at the "47 Workshop," Cambridge ; 
Massachusetts, April j and 4, 1916. 



PLEASE NOTICE 

The professional stage-rights in this play are strictly reserved. 
Amateurs may obtain permission to produce it privately upon 
payment of a fee of five dollars (#5.00) for each performance, in 
advance. All payments and correspondence should be addressed 
to the author, 108 Marlboro' St., Boston, Mass. 



BOSTON 

WALTER H. BAKER & CO. 
1918 



4 







•£ 



The Other Voice 



4> 






w 



CHARACTERS 

A Half-Starved Voice. 
A Well-Fed Voice. 
A Little Thin Voice. 




Copyright, 1918, by S. vK. Fairbanks 
as author and proprietor 

Professional stage and moving picture rights reserved 



©CI.D 50569 
svxxs I 

OCT IB 1918 



TMP96-007301 



PLEASE NOTICE 

The professional stage-rights in this play are strictly reserved 
by the author, to whom applications for its use should be ad- 
dressed in care of the publishers, Walter H. Baker & Co., 
5 Hamilton Place, Boston, Mass. 



Attention is called to the penalties provided by the Copyright 
Law of the United States of America in force July I, 1909, for 
any infringement of his rights, as follows : 

Sec. 28. That any person who wilfully and for profit shall infringe any 
Copyright secured by this Act, or who shall knowingly and wilfully aid 
or abet such infringement, shall be deemed guilty of a misdemeanor, and 
upon conviction thereof shall be punished by imprisonment for not ex- 
ceeding one year or by a fine of not less than one hundred dollars, or both, 
at the discretion of the court. 

Sec. 29. That any person who, with fraudulent intent, shall insert or 
impress any notice of Copyright required by this Act, or words of the 
same purport, in or upon any uncopyrighted article, or with fraudulent in- 
tent shall remove or alter the copyright notice upon any article duly copy- 
righted shall be guilty of a misdemeanor, punishable by a fine of not less 
than one hundred dollars and not more than one thousand dollars. 



The Other Voice 



SCENE. — A river flowing forward under the prosce- 
nium, with the lights of a great city on its banks. It is 
too dark to see anything but the pin-points of light and 
their reflections on the water. 

Starved Voice. Cold night, governor. 

Well-fed Voice. Ye-es, very. 

Starved Voice. Pertickerly fer them as hasn't got 
enough clothes. 

Well-fed Voice. So I should imagine. 

Starved Voice. You don't happen to 

Well-fed Voice. No, of course not. I usually 
wander round London without money. Especially on a 
cold night. 

Starved Voice. — Have a sixpence about yer as yer 
could give a poor bloke what's got 

Well-fed Voice. Got three starving wives and sev- 
eral young families? Why no, now you mention it, I 
haven't. I've only got a shilling, and a fiver. 

Starved Voice. Get yer change, get yer change, sir ! 

Well-fed Voice. No doubt. 

Starved Voice. S'help me 

Well-fed Voice. But as a matter of fact, I may give 
you the shilling — or the fiver, for that matter, if it amuses 
me. (Pause.) You're a poor sort of creature, aren't 
you? 

Starved Voice. Me, sir? 



6 THE OTHER VOICE 

Well-fed Voice. Yes, you. I suppose you used to 
be something like a man once. I wonder if I'd happened 
to see you then, and told you that one day you'd sidle up 
to me and ask for leave to get drunk, whether you'd 

Starved Voice. Me, governor, drink ? Why 

Well-fed Voice. Oh, bosh ! 

Starved Voice. Why, on the level, I ain't touched a 
drop, not for the last ten years I ain't. 

Well-fed Voice. Mmm — if you tell me another lie 
like that, you won't get the shilling. (A pause.) 

Starved Voice. Well, if you puts it that way, guv'- 
ner, o' course in a manner of speaking, I 

Well-fed Voice. Oh, stop talking. You make me 
feel diseased. (A long pause; then with a complete 
change of manner.) It must be awfully cold out here 
at night with an east wind coming up the river. 

Starved Voice. Cold ? Ah, I believes yer. Why 

Well-fed Voice. You just wander up and down 
along the bridge, and your feet ache, and your knees 
ache, and you ache all over, but you can't stop. It's 
worse when you stop. People don't give you any money. 
You don't expect they will; but you ask because there's 
nothing else to do 

Starved Voice. Dirty swine! 

Well-fed Voice. And at last when it gets really dark, 
and you can't wander any more, you go and sit on one 
of those benches over there and watch the river. — Curi- 
ous how you all watch the river. You'd think it made 
you feel warmer. — And then it rains, and you can't get 
away from the rain. So you sit there, drenched and 
shivering, the whole night long, waiting for another 
day, — to lead to another night. 

Starved Voice. Give us a shilling, guv'ner. 

Well-fed Voice. Nothing all night long but the wind 
and the rain, and the river chuckling in the darkness. I 
wonder if it really is warmer in the river, down there in 
all that blackness. If it isn't just waiting down there 
for men like you, that can't do anything up here. A 
place where they can forget they're tired, and aching, 
and hungry, and go down, down, down into sleep. 

Starved Voice {hypnotised). I — I couldn't do it, 



THE OTHER VOICE 



7 



guv'ner. They screams and kicks about when they gets 
in ! I seen 'em. 

Well-fed Voice. Not for very long, and then — it's 
all quiet. See, I'll drop my handkerchief. Just a little 
white thing, turning slowly over and over in the river. 

Starved Voice {waking suddenly). 'Ere! What's the 
game? Can't you let a poor bloke alone what's never 
done nothing to you? Come here talking about the rain, 
an' — an' all. {Almost sobbing.) Lemme go! I ain't 
done nothing to you. 

Well-fed Voice. I haven't done anything to you yet, 
though I was going to give you a shilling. You'd have 
done much better to do — the other thing. What good 
are you to the world? What right have you to live? 
And you haven't the pluck to die. I don't see why I 
should give you anything. 

Starved Voice. Ow ! don't yer ? Look 'ere. There 
ain't nobody else on the bridge ; see ? There ain't nobody 
to hear you if you shouted; see? You give me that 
fiver, or I'll smash yer 

Well-fed Voice. Drop it! That's right; go on; 
drop it. {The sound of a bit of lead falling on the stage 
is heard. ) So ! Why, you beer-sodden rag, I pay three 
better men than you to look after my body for me. I 
learned to box and wrestle before you learned to drink. 
Pick it up again, you fool ! You couldn't kill a man with 
a battle-axe, let alone a piece .of lead on the end of a 
stick. All right ; go on ; pick it up ! That's right. And 
now, go to hell. In any decent civilization, you'd have 
been chloroformed long ago. That's what the city's for ; 
only the mills of man don't grind small enough. And 
so scum like you are left to wander round only half dead 
and pollute the sunlight. Not to speak of the lamplight. 
I was making a splendid ballad on those lights when you 
interrupted me. Wait a minute. 

Purple and scarlet and white they flare 

With pride and sinning and white-hot pain 



How did it go ? 



THE OTHER VOICE 



Where the fallen struggle to rise in vain, 
And the city writhes, and screams, and fights, 

And slays, and passing tramples the slain, 
In the pitiless blaze of the London lights. 

Mad red music 






Starved Voice. Damn yer ! There ! 

(The sound of a fat body falling limp on the ground 
is heard, and at the same time all the lights are sud- 
denly snuffed out. Through the darkness, a Little 
Thin Voice is heard giggling to itself, and drawing 
nearer and nearer.) 

Well-fed Voice. Who's there? What is it? 
Thin Voice. Nothing but the lights going out. 
Well-fed Voice. Somebody turn off a current? 
Thin Voice. Yes. That was it. 
Well-fed Voice. Well, I jolly well wish they'd turn 
it on again. 

Thin Voice. There will be more light soon. 

(A star appears, and then another. The Little Thin 
Voice is heard laughing still. The lights form the 
constellation of Orion.) 

Well-fed Voice. It's cold, and yet the wind's 
stopped . Curious! (Suddenly.) Look here, I 

dont like this. Who are you? Where's the other 
fellow ? 

Thin Voice. Down there. 

Well-fed Voice. What? In the river? Lord I 
never thought he'd have the pluck to 

Thin Voice. Oh, no. Not in the river. On the 
bridge. 

Well-fed Voice. On the bridge? What do you 
mean r 

Thin Voice. You must have lied to him about that 
nver. 1 can hear him cursing. 

Well-fed Voice. Why, but what 

Thin Voice. Only a shilling for his trouble. 






THE OTHER VOICE g 

Well-fed Voice. I don't understand. Where are 
we? 

Thin Voice. Nowhere. 

We^-^d Voice. What do you mean? Where are 
we? Why don t you answer? (Silence.) Why is it so 
still? (Little Thin Voice is heard laughing ) Is this 
a joke ? 

Thin Voice. Yes. I'm rather fond of jokes You 
see, — my name's Death i 



SLOW CURTAIN 



THE SNOW IMAGE 

And Other Plays for Children Suitable for Stage 

or Schoolroom 

By E. Antoinette Luques 

These little plays are the work of an experienced teacher, the themes 
are well selected, treated with the skill, propriety and sympathy acquired 
through long and close experience with childhood, and are provided with 
full instructions not only for production on a regular stage but for adapta- 
tion to the conditions of the schoolroom. Strongly recommended. 
Price, 25 cents 

CONTENTS 
The Snow Image, 2 males, 4 females. The Spirit of Memorial Day, 4 males, 

Hiawatha's Childhood, 13 males, 5 females. 

14 females. The Story of the Poplar Tree, n males 

15 females. 

TABLEAU AND PANTOMIME ENTERTAINMENTS 

For School or Public Performance 

By Clara E. Cooper, Bertha Currier Porter, 
Laura M. Parsons and others 

This collection comprises two new and four well-known and popular 
entertainments of the same class. The moving tableau is steadily gaining 
in appreciation over the old picture-tableau and this collection offers an 
excellent choice of such material. 

Price, 25 cents 

CONTENTS 

In Sleighing Time, 4 males, 3 females, Living Pictures of the Civil War, 

reader and chorus. ad libitum. 

Choosing an Occupation, 6 males, 5 A. Ward's Wax Figger Show, ad 

females and reader. libitum . 

Pictures in the Fire, 4 males, 4 females, Dramatized Readings, ad libitum. 

and supers 

GREEK COSTUME PLAYS 

For School, or Lawn Performance 

By M. Nat aline Crump ton, Mrs. Mary L. Gaddess, and others 

An assemblage of popular entertainments mostly on classical subjects 
and calling for Greek dresses. All have been popular as independent 
publications, in which form many are still in print. The following list of 
titles will amply suggest the nature of the themes. 
Price, 25 cents 

CONTENTS 
Antigone. By Sophocles. 5 males, Theseus. By M. Nataline Crumpton. 

3 females. 7 males, 7 females and supers. 
Ceres. By M. Nataline Crumpton. The Ivy Queen. By Mrs. Mary L> 

2 males, Xlfemales. Gaddess. Ad libitum. 

The Convention of the Muses. By The Revels of the Queen of May 

Ella Skinner Bates. 9 females. and Her Fairies. By Mrs. Mary 

Pandora. By M. Nataline Crumpton. I*. Gaddess. z boy, 45 girls. 

4 males, $ females. 



THE BOY SCOUTS 

A Play for Boys in Three Acts 

By Walter Ben Hare 

Twenty males. Scenery, unimportant ; costumes, scout and modern, 
Flays two hours. Worth refuses to vote for Tony as a new scout because 
the latter is poor, but Tony shows in the end that he is a true scout and 
wins his election. This simple motive underlies lots of characteristic fun 
and stunts, and offers as a whole a very vigorous and sympathetic picture 
of the Boy Scout practices, motives, and ideals. Strongly recommended. 
Price, 25 cents 

CHARACTERS 

Stewart Nipper, known as Nip. 
Fred Tuck, known as Tuck. 
Dick Randolph, the patrol leader. 

WORTHINGTON LEONARD, a rich boy. 

Tony Ardis, a poor boy. 

Jakie Stein, with business instincts. 

Chubby Childs, who don't care if he is fat. 

Watermelon Jackson, a lazy coon. 

Mrs. Watermelon Jackson, and her seven little coons. (May U 

omitted. ) 
Lippy Scudder, who thinks he's a hero. 
Bub Waldron, going on seven. 
Jack Hall, assistant patrol leader. 
Plupy Higgins, who likes to study. 
Lee Waldron, %ome athlete. 
Tom Redway, who plays the piano. 
Shorty, Harry, Charley, Will and Frank, other Boy Scouts. 

SYNOPSIS 

Act I. — The meeting of the Boy Scouts of America. Nip and 
Tuck. 
Act II. — A rehearsal in the gym. The stunts of the Scouts. 
Act III.— Same as Act I. Swearing in the new tenderfoot. 



AUNT ABIGAIL AND THE BOYS 

A Farce in One Act 

By Lillie Fuller Merriam 

Nine males, two females. Scene, an interior ; costumes, modern. 
Plays one hour. Aunt Abigail, who hates boys, visits Gerald in college 
and finding him dressed in female costume for theatricals takes him for 
his sister Geraldine. Things are badly mixed up when his friends turn 
up and see the situation, but in the end Aunty is wholly cured of her 
dislike for the " boys." Lively and amusing ; recommended for school^ 
Price, 15 cents 



A FOUL Tit* 

A Comedy Drama in Three Acts 

By Charles S. Allen 
Seven males, three females. Costumes, modern ; scenery, one exterioi 
scene, not changed. Plays two hours. The safe at Irving's factory is 
robbed and three persons are under suspicion, which finally settles most 
strongly on Verne Gale, the hero, who, to protect Hal Irving, old Irving's 
son, whom his sister Nellie loves and whom he believes to be the real cul- 
prit, keeps his mouth shut save for protesting his own innocence. 
" Uncle " Tim Purdy is loyal to him and, with the aid of Pete Adams, the 
colored pitcher of the Westvale nine, finally discovers the real culprit. A 
strong play with unusual strength and variety of character and abundance 
of humorous lines and incidents. Very highly recommended. 
Price, 25 cents 

CHARACTERS 

Tim Purdy, postmaster, chief of police and storekeeper at Westvale, 

Hiram Rowell, the village expressman. 

Oliver Irving, manufacturer. 

Harold Irving, his son. 

Verne Gale, manager of the Westvale nine. 

Pollard, Irving 's bookkeeper. 

Pete Adams, colored pitcher on the Westvale nine, 

Almira Purdy, Tims wife. 

Mabel Remington, Irving's stenographer. 

Nellie Gale, Verne s sister. 

Members of the ball team, villagers, etc, 

DADDY 

A Comedy in Three Acts 
By Lilli Huger Smith 
Four males, four females. Costumes, modern ; two easy interiors. 
Plays an hour and a half. Mr. Brown exhausts all the resources of 
science, including smallpox and diphtheria signs, in an endeavor to keep 
away the admirers of his daughter whom he wishes to keep at home. He 
finally asks Dr. Chester, who is privately in love with her, to help him to 
dissuade her from becoming a trained nurse. The doctor does so by 
marrying her himself. Very clever and amusing ; full of wit and of high 
tone. Strongly recommended. 

Price, 25 cents 

CHARACTERS 

Mr. Wrexson Brown, just like his fellow men. 

Teddy Brown, his son, pursuing football at college. 

Paul Chester, a young doctor. 

Thompson, the Browns butler. 

Mrs. Wrexson Brown, just like her fellow women. 

Nellie Brown, her daughter, a debutante. 

Mrs Chester, Mr. Browns sister, pursuing ill-health at home, 

?anr tfu Browns* cook. 



THE THIRTEENTH STAR 

A Comedy in Three Acts 

By Gladys Ruth Bridgham 

Nine females. Scenery, two interiors ; costumes, modern. Plays an 

hour and a half. The outbreak of the war takes away the entire staff of 

the Mapleford Bugle, so Caroline Mason undertakes to get out the paper. 

She takes over with it a fight against her fiance, who is at the head of 

the local mills, quarrels with him, runs into a strike, but comes out of it 

all triumphant. A really strong play for girls, strongly recommended. 

Price, 25 cents 

CHARACTERS 
Carolina Rideout Mason 1 

rr A r R ' her cmsin \ c ^ >--• 

Helen Redmond J 

Mrs. Winthrop Ames, Eleanor s mother, 

Marie, Eleanor s maid. 

Aunt Lucy, colored mammy. 

Maggie O'Flynn, office girl of the Bugle. 

Inez Huntley, a mill hand. 

SYNOPSIS 

Act I. — Room in the ancestral home of Carolina Rideout 
Mason, North Carolina. Spring, 1917. 

Act II. — Office of the Mapleford, Massachusetts, Daily Bugle, 
June 1. 

Act III, — Evening of the same day. 

THE CUCKOO'S NEST 

A Comedy in One Act 

By F. Roney Weir 

Three males, three females. Scenery, an interior ; costumes, modern. 

Plays thirty minutes. An impecunious couple, temporarily caring for the 

luxurious house of a rich neighbor, are tempted to represent the place as 

their own by way of impressing another pair of married friends from a 

distant city who come upon them there unexpectedly. The rightful 

owners turn up at the wrong moment, but help to carry out the deception, 

and all ends happily. Very strongly recommended. 

Price, 25 cents 

THE PIERROT OF THE MINUTE 

A Dramatic Fantasy in One Act 
By Ernest Dowson 
One male, one female characters. Scene, an exterior; costumes, fan- 
tastic. Plays half an hour. A very pretty and gracefully written little 
play illustrating fancifully the idea that while the artist is ephemeral his 
art endures. It is equally attractive in idea, treatment and stage setting 
and is strongly recommended. 

Price, 25 cents 



CAPTAIN CRANBERRY 

A Cape Cod Drama in Three Acts 
By Gladys Ruth Bridgham 
Eight male, three female characters. Costumes, modern rustic and 
seafaring ; scenery, two easy interiors. Plays two hours. Cranford 
Berry, affectionately known as " Captain Cranberry," has gained from the 
griefs and hardships of a long life a beautiful philosophy and is the main- 
stay of his neighbors. Learning that Ariel, who has long passed as the 
daughter of Abner Freeman, a fellow mariner, is his own child, he will- 
ingly foregoes the rights of a father to secure her greater happiness ; but 
events make this great sacrifice unnecessary and all ends happily. Lee 
Gordon's pursuit of material for his great detective story, " The Mystery 
of the Seven Pipes," provides a wealth of comedy, and lots of excitement. 
Free of royalty. Strongly recommended. 

Price, 25 cents 

CHARACTERS 

Cranford Berry (Cap'n Cranberry), keeper of the Bay Point 

' Light. 
Abner Freeman, a retired whaler. 
Obadiah Daniels, postmaster. 
Lemuel Sawyer, constable. 
Samuel Sawyer, his son. 
Lee Gordon, an author. 
Peter Pretzel Pomeroy, his accomplice* 
Nat Williams. 

Ariel Freeman, Abner s daughter. 
Hepsy Sawyer, Lemuel's wife. 
Cynthia Tinker. 

SYNOPSIS 

Act I.— Living-room in Cynthia's home — Bay Point, Cape Cod. 
Act II. — The same ; the next morning. 

Act III. — Room in Abner Freeman's old fish house on the 
shore ; late afternoon of the same day. 



DOUBLE DUMMY 

A.Comedietta in One Act 
By Ema S. Hunting 
One male, one female character. Costumes, modern ; scene, an inte- 
rior. Plays twenty minutes. Merton Graves, of the Post, in an effort to 
interview the celebrated Mme. Mordini encounters Kathrine Coleman, of 
the Press, whom he takes for Mordini, while she takes him for Wainworth, 
the painter, whom she is after on a similar errand. An amusing bit of 
mistaken identity, very actable. 

Price, ijj cents 



REPRESENTING BARRETT, COX & CO. 

A Farce in Three Acts 
By Manley Dana 
Five males, four females. Scenery, a single interior; costumes, mod 
ern. Plays an hour and a half. Parts very equal in opportunity ; col- 
ored comedy character. Recommended for schools. Jack Carter, a sales- 
man, is mistaken by Colonel Reading for his nephew, the Duke 'of Bills- 
bury, and is entertained in spite of his protests. Jack explains the situ 
ation to detective Herbert, who is really a crock seeking a chance to rob 
the house, and Herbert agrees to help Jack, and incidentally himself, by 
keeping the real Duke away while Jack woos the Colonel's daughter. 
The genuine Duke finally gets in, foils the attempt at burglary, and forces 
an explanation. 

Price t 2f cents 

CHARACTERS 
Colonel George Reading, lately retired from the army. 
William Burndette, Duke of Billsbury—his nephew. 
Jack Carter, a traveling salesman. 
Charles Herbert, a confidence man. 
Abner, the Readings' colored butler. 
Marjorie Reading, the Colonels daughter. 
Virginia Carter, Jack's sister. 
Mrs. Hinds, the Readings housekeeper. 
Maggie, the Readings' maid. 

Scene.— The Colonel's house, Richmond, Va. 
Time. — September, 191 2. 

JACK O' HEARTS 

A Comedy in Three Acts 
By Edith M. Burrows 
Four males, four females. Costumes, modern; scenery, a single in- 
terior. Plays an hour and a quarter. Parts evenly distributed ; an ex 
cellent light piece. John Ames, a young clergyman friend of Polly's 
brother, is mistaken for an expected relative and given by Polly a cousinly 
kiss. An astonishing number of amusing consequences follow from this 
mishap. Exceptionally easy, quick in movement and amusing. Recom 
mended. 

Price, ij cents 

CHARACTERS 

Mary Hart, commonly known as "Polly" 

Winthrop Hart, her brother. 

Dr. Hart, father of Polly and Winthrop. 

Mary Robinson, a friend of Polly's. 

Betty Dwyer, the girl who lives next door. 

John Ames, young clergyman friend of Winthrop' s. 

Jack Botsford, an unknown cousin of the Harts', 

\ Maid. 



JL ID. Pinero's Plays 

Price, 50 £etite each 



MTH PUANNFI Play in Four Acts. Six males, five female*. 
nilu-%*lli\lMWJL* Costumes, modern; scenery, three interiors. 
Plays two and a naif hours. 

THE NOTORIOUS MRS. EBBSMITH 2ff"5ffiK 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THE PR DEI JC ATP Play in Tour Acts. Seven males, five 
lflEi ri\UrLilU/\lEi females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

TUP CrUflfll MIQTDrCC Farce in Three Acts. Nine males, 
1 nEi ainUULlUld 1 t\LOO seV en females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^Z^&Xi 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

QWFFT I AVFWnFI? Comedy in Three Acts. Seven males, 
dTTEiEil l*rVYEiHU£iIV four females. Scene, a single interior, 
Oostumes, modern. Plays a full evening. 

THE TUTTNTOTDRni T Comedy in Tour Acts. Ten males, 
HIE. lnUllLFCIVDULl nine females. Scenery, three interi- 
ors; oostumes, modern. Plays a full evening. 

THF TIMFQ Comedy in Pour Acts. Six males, seven females. 
1 i I d 1 UTlEiiJ Scene, a single interior ; costumes, modern. Plays 
a full evening. 

THF WFAKTB QFY Comedy in Three Acts. Eight males, 
IllEi ff HfilVEiIY OMaA. eight females. Costumes, modern; 
soenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE 8SSSii«2£&£8: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Salter & Pafeer & Company 

No. 5 Hamilton Place, Boston, Massachusetts 



LIBRARY OF CONGRESS 



016 215 178 2 # 



C&e William barren Cfcttton 
of $laps 



AC Yfin I l¥P IT Comedy in Fir* Acts. Thirteen males, four 
AJ 1VU UAL II female*. Costumes, picturesque ; scenery, Ta- 
iled, Plays a full evening. 

(• I MIT I D Drama in Five Acts. Nine males, fire females. Oos- 
vAiOlLiLL tumes, modern ; scenery, varied. Plays a full evening. 

INftOMAV P1 *y ln Flve Aot9 - Thirteen males, three females. 
111U VOT AI\ Scenery varied ; costumes, Greek. Plays a full evening. 

MADY CTIIADT Tragedy in Five Acts. Thirteen males, four fe- 
01AIM oivtukg males, and supernumeraries. Costumes, of the 
period ; soenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE 2ffift£SK££ SSSSl 

pioturesque ; scenery varied. Plays a full evening. 

pirnpTJpTJ Play in Five Acts. Fifteen males, two females. Been- 



evening 



ery elaborate ; costumes of the period. Plays a full 



TUP DIVAIC Comedy in Five Acts. Nine males, five females. 
I JIG niVALr3 Scenery varied; costur 



full evening. 



costumes of the period. Plays a 



SHE STOOPS TO CONQUER SB&£23£*kJ!SZ. 

ried ; oostumes of the period. Plays a full evening. 

TWELFTH NI6HT; OR, WHA? TOE WILL SrWiffi: 

three females. Costumes, pioturesque; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Salter $♦ T&abtv & Company 

lfo. 5 Hamilton Place, Boston, Massachusetts 



■ . J. PARKHILL ft CO.. PRINT!* ft. BOSTON. U.«.J». 



